Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Mali and from Winnipeg.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Bremen.
I'm losing my edge to the art-school Paris kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Dead Boys to the grunge kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Chris Corsano. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Sparks record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Camouflage,
The Wake,
Eve St. Jones,
The Gap Band,
U.S. Maple,
Drive Like Jehu,
Crooked Eye,
Make Up,
Dead Boys,
Scan 7,
James White and The Blacks,
Deakin,
John Holt,
Scion,
Gil Scott-Heron and Jamie xx,
Tim Buckley,
Scratch Acid,
Max Romeo,
Danielle Patucci,
Terrestrial Tones,
OOIOO,
Kenny Larkin,
Cecil Taylor,
Ludus,
Faraquet,
Letta Mbulu,
Juan Atkins,
Sixth Finger,
Buzzcocks,
Shuggie Otis,
Moebius,
a-ha,
Vainqueur,
The Blues Magoos,
DJ Style,
Boz Scaggs,
Robert Wyatt,
The Alarm Clocks,
Throbbing Gristle,
Bobby Sherman,
Art Ensemble Of Chicago,
Scott Walker + Sunn O))),
The United States of America,
Faust,
Drexciya,
Ituana,
Traffic Nightmare,
Bluetip,
Second Layer,
Agitation Free,
Colin Newman,
Franke,
Bill Wells,
Niagra,
Stetsasonic,
Can,
Nas,
Pylon,
The Gories,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.